New Zealand School of Dance performance season, 2024

20 November 2024. Te Whaea theatre, Wellington
Season runs until 30 November

This end-of-year performance season is dedicated to the memory of New Zealand’s celebrated ballet dancer Rowena Jackson, who died earlier this year aged 99. Rowena was Director of New Zealand School of Dance (then National School of Ballet) in the 1970s when her husband Philip Chatfield was artistic director of (later the Royal) New Zealand Ballet. That partnership ensured a close rapport between School and Company, echoed later in 1980s when Anne Rowse and Harry Haythorne were respective directors. After some years it is heartening that Garry Trinder, director of the School, is again renewing that rapport with the Company’s artistic director, Ty King-Wall. Artists, teachers, students and audiences are all going to benefit from that mutual trust as it develops even closer.

This season includes three premieres, and alternates classical and contemporary works, which gives a welcome opportunity to see the strengths of the School’s two parallel programs. It opens with a piece to the Waltz from The Sleeping Beauty. The cast of 15 dancers, drawn from all three years’ classes, dance with enthusiasm and commitment.

Showpony! by Matte Roffe, an alumnus of NZSD, begins with a fancy-dress comic line-up of characters with voice-over, that then segues into energised abstract dance. “Using the ‘show pony’ metaphor, the work questions if the cost of constantly chasing approval is worth it, urging the audience to reflect on the toll this pursuit takes on authenticity and wellbeing.”

Gabriella Arnold in *Showpony!* Photo: © Stephen A’Court

(S)even, by the late Jenna Lavin, to a piano sonata by Franz Schubert, was staged by Tara Mora—and brings a fresh clean style of classical alignment especially in port de bras. [The School employs three of the best dance accompanists in town, so how wonderful it would be to have at least one work danced to live accompaniment?]

Taane Mete, a graduate from NZSD in 1980s, choreographed All Eyes Open, to commissioned music by Eden Mulholland, a highly experienced composer for dance. It proved the masterpiece of the evening in its maturity of concept, contemporary relevance, construction, staging, style, dedication and performance. I’d have thought the work could go straight into RNZB repertoire, as in every way it evokes the works from José Limon and Doris Humphrey company legacy (which used to be an intrinsic part of NZSD curriculum and repertoire.) Clearly in Taane’s case that early inspiration, since his days at the School in 1980s, has proved lifelong.

A moment from *All Eyes Open*. Photo: © Stephen A’Court

His program note, a model of clarity, reads: This work is a humanitarian response to the occupation in Gaza. The all-female cast morph and oscillate in solidarity in a confined area. The work explores each individual pathway in relation to the ensemble group moving en masse like a hypnotic force. I couldn’t have reviewed it better myself. If ever the NZSD Board can see ahead to forming a touring company, giving graduates a year of performance experience, they would have in All Eyes Open a timeless work, and a premiere ready to go.

It’s Not Me, It’s Me, by Zoë Dunwoodie to music by David Jones, is a lively work suiting the young dancers searching their identity. It is inspired by a painting by Dutch artist Jan Toorop who is known for Javanese themes throughout his works, though this dance takes a different path. It extends the dancers’ movement range in many new directions.

Aylish Marshall and dancers in *It’s Not Me, It’s Me*. Photo: © Stephen A’Court

The final work Forte, by Tim Podesta, premiered earlier this year in Wellington. It is a sophisticated classical work, albeit in flat shoes, and the cast of five dancers deliver performances of electric quality throughout. Three students are from the First Year class so it is clear they have reached the school already highly trained and skilled performers. There are four separate pieces of music, with applause from audience following each section. If it were possible perhaps to connect each section with a minimal choreographic thread, that would allow the work to build the full momentum and denoument it certainly deserves.

Hui Yo-Hin, Liezel Herrera, Lin Yi-Xuan in *Forte*. Photo: © Stephen A’Court

We assume it is the Third Year students who are graduating, and we wish them all a fruitful and rewarding lifetime in dance.

Jennifer Shennan, 22 November 2024

Featured image: Mia Mangano and Trinity Maydon in All Eyes Open. Photo: © Stephen A’Court

Many Happy (re)Turns

By Jennifer Shennan

Anne Rowse is a well-known and much-loved figure in the New Zealand dance scene. Her 90th birthday was recently celebrated in style at several events in her home town of Wellington, and at a family gathering at Queenstown in the following days. London called in long-distance, as did many colleagues and former students from a global spread of cities.

Anne had early ballet training in New Zealand, continued that in London, then had a performance career with Festival Ballet between 1952 and 1960, when she danced alongside fellow New Zealander Russell Kerr. She retired from performing and returned home with husband Ken Sudell to start a family. After some years she commenced teaching and in 1979 was appointed Director of the National School of Ballet, in 1982 re-named New Zealand School of Dance to mark the introduction of contemporary dance as well as teacher-training courses.

Everyone invited to the birthday events accepted, since ‘Joyous occasions are few. We will celebrate’ (that’s a quote from composer, the late Douglas Lilburn). Perhaps they were also hoping that Anne’s renowned optimism, elegance and positivity would prove infectious, and that they might catch some of whatever she’s got.

Anne recently performed the central role in Doris Humphrey’s movingly beautiful Air for the G-String, something she has done maybe a dozen times over the years, her serenity and presence more poignant on every occasion. (Air, along with a dozen other Humphrey and Limon repertoire, was first staged by Louis Solino when he was on the faculty at New Zealand School of Dance. Anne rates it as a major coup to have appointed Solino to the staff since none of those fine classic choreographies would otherwise ever have been seen here). A number of other highly successful initiatives date back to her time at the School. It is heartening to learn that Anne is mid-stream writing her Memoirs so there will be a record of important dimensions in New Zealand dance.

Early in the week an open class of Renaissance and Baroque dance included Anne dancing a menuet-à-deux from Kellom Tomlinson’s 18th century treatise. With Robert Oliver on bass viol, and Keith McEwing as partner, she brought a striking grace to the menuet—(I here declare a very happy ‘conflict of interest’ since I set the dance). Matz Skoog (former artistic director of RNZBallet) was in the room and reference to his experience in late Baroque theatre productions at Drottningholm in Sweden gave an extra resonance to the lines and legacy we trace in ballet history—not for old time’s sake, but for future time’s sake.

Anne Rowse and Keith McEwing in *Menuet-à-deux*. Photo: © Sharon Vanesse

A few days later a large crowd of well-wishers attended an event at New Zealand School of Dance where director Garry Trinder and associate director Christine Gunn, together with present and past staff and students, acknowledged Anne’s contribution and celebrated her milestone. Other speakers included Liz Davey and Deirdre Tarrant, and The Royal Academy of Dance, itself celebrating 100 years of achievement, made a presentation of the President’s Award on behalf of Luke Rittner from London.

The junior scholars performed a piece set by Sue Nicholls, a contemporary work by Holly Newsome was danced by 1st year students, then the pas de deux from the second movement of Concerto by Kenneth MacMillan was given a flawless performance by Louise Camelbeke and Zachary Healy. The luminous choreography, to the Shostakovich Second Piano Concerto, beautifully played by Philip O’Malley, was a blessing without words.

Louise Camelbeke and Zachary Healy in Kenneth MacMillan’s *Concerto*. New Zealand School of Dance, 2021. Photo:© Stephen A’Court

The school song—E te whaea e—was given a robust rendition by all students and staff, thus ending the presentation in high spirits.

Dance … so intensely in and of the present … can equally invoke other times, places and people, their work then and now, their memories of then, and the books they write now.

Many happy returns, Anne. We celebrate 21sts, why not 91sts? See you next year.

Jennifer Shennan, 19 August 2021

Featured image: Anne Rowse, 2015. Photo: © Kerry Ferigo

The golden ties that bind

by Jennifer Shennan

Memories from across 40 years of life and work and people at New Zealand School of Dance were triggered by a recent gathering.

Christine Gunn has been on the faculty at New Zealand School of Dance as classical ballet tutor for 40 years. A celebratory gathering took place at Te Whaea, the school’s venue, in early September to mark the occasion but no-one is taking that as a signal of her impending retirement. The opening speech of heartfelt thanks by director Garry Trinder acknowledged that Christine prefers not to play the diva but just to get on with the work. He quipped how pleased he was to have found her the perfect fridge magnet which asks ‘Would you like to speak to the person in charge, or to the person who knows what’s going on?’ Perhaps they’ll let her retire after another 40 years?

Christine masterminded the art of timetabling the curriculum for both the classical and contemporary dance streams—(this is tantamount to completing Sudoku puzzles while simultaneously playing two Chess games). It was not merely the timetabling skills being remembered and celebrated however, but the dedication to teaching consistent, supportive classical technique and repertoire classes that have guided many a ballet student towards their performance careers. Raising her own family of two daughters must have required further skills of time management on many occasions.

Anne Rowse was director of the then National School of Ballet when Christine joined the staff in 1979. With Anne, plus Dawn Sanders as part-time tutor and secretary, that made a staff of three. How ever did they do it, in those asymmetric studios that you had to traverse to gain access to the dressing rooms? Well, you’d never have guessed from the calibre of the repertoire in annual Graduation seasons in the Opera House that training conditions were anything less than perfect. It takes hindsight to recognise pioneering of course, but the list of graduates from New Zealand School of Dance, then and since, includes major figures in world dance. Piano accompanists were always the best in town and, over time, other teaching staff were appointed, new premises found, and resources grew.

Turid Revfeim (who has recently written the 50 year history of the School, and is now a tutor there) was a student in the year Christine arrived, and she reminisced on what was done despite those meagre resources. Turid later joined Royal New Zealand Ballet as did many other graduates, Dawn had also earlier been a dancer with them, and such links ensured a genuinely close rapport between the School and the Company, at that time directed by Harry Haythorne. Students used to turn up in droves at the theatre each night to meet the stalwart Company Managers, Warren Douglas or Brendan Meek, themselves both NZSD graduates, for passes to every performance of the season which those days spanned a fortnight. Standing room if need be, but students seized every chance to glean inspiration of what their training was all about, in the context of the theatre. The resulting artistic harvest was bountiful, but it only grew from old-fashioned common sense and the best kind of opportunism.

Christine’s choice at her gathering was for students to perform an excerpt from Balanchine’s Concerto Barocco which they did with a commendable clarity of line and musical acuity. Luke Cooper, a recent graduate now dancing with RNZB, had organized video messages to Christine from former students living and working afar. All the students then performed a massed Maori tribute, a waiata with the talisman wiri of quivering arms and hands that breathes life into dance. The male students delivered a mightily galvanised haka taparahi that could have given the All Blacks the shivers.

The large gathering was a spirited one and no doubt evoked many and varied memories among former teachers and students of their experiences across those 40 years—of things trained, learned, rehearsed, performed, triumphed, loved, hoped, danced and dreamed. I’ll put the (injuries and heartbreaks) into parentheses. Nothing about dance is easy—it’s only meant to look that way, with the grace of divine nonchalance suggesting that you, the audience, could be dancing too.

*********

Anne Rowse invited me to join the staff in 1982, to tutor in Dance Studies—Renaissance and Baroque repertoire, Dance notation, History & Library studies, World Dance Traditions including Pacific and Asian cultures—all the interesting things no one else wanted to teach. How lucky was I? I also offered public courses of dance interest through the Centre for Continuing Education of Victoria University of Wellington, so there was some creative accounting as Anne agreed to let the School premises be used in exchange for free places for students. Win-Win. I was also entrusted to build up the School’s library from fairly meagre holdings, so it was surely a stroke of luck that Smith’s Bookshop, the town’s very best second-hand bookshop, run by Dick Reynolds, was in an adjacent building, so I could each week sniff out dance and related arts books for bargain prices. One day, to my astonishment I found David Garnett’s Lady into Fox, a short story that had been famously adapted, by Andrée Howard, into a choreography by the same name, and the one ballet I most wished I could have seen. I consider myself quite old, but not quite old enough to have caught it when Ballet Rambert toured here in 1949. You could search the shelves of bookshops worldwide and not find Garnett’s stories, so this was a glint of gold. I recall cancelling that day’s planned class and telling the students all about Lady into Fox instead.

How poignant it was some years later at a matinee of the School’s graduation, with the front rows of the stalls at the Opera House filled with audience from an old folks’ home (another of Anne’s initiatives), to sight Dick Reynolds propped up in a wheel chair, nodding and faintly clapping along as the students rollicked through The Lancers’ Quadrille, but I believe he was wiping away tears when Chopin’s music for the Prelude from Les Sylphides began.

Another standout memory was a visit from the iconoclast dance-maker Mary Fulkerson from Dartington, an important centre for the arts in Devon. Mary brought her eight hour long performance saga, titled Don’t Tell the Prime Minister I’m coming. The first instalments were performed across two evenings in the BlueRoom at the National Art Gallery, when director Luit Beiringa opened those doors for us, but the third and fourth evenings were across a weekend, posing a problem of access to the NAG. There was no budget. (How ever did we do these things on zero budgets? Well, we just did. You could say they were free because they were priceless, which is of course the opposite of worthless). Anne with typical generosity handed over the school keys for the weekend. That gesture remains as memorable as the dance itself, which ended with Fulkerson tossing each of the eight dresses she had worn through the evenings high up into the air, all the while still dancing, singing, and smiling. But wait, only seven dresses ever came back down to earth. The eighth one caught on a high ceiling beam and dislodged a decade’s worth of dust, glinting in the light as it sent a shaft of golden stars down onto our heads. That was 1983 but I can see that glinting still. And no, we didn’t tell the Prime Minister Mary was coming since Muldoon wouldn’t have known what to do with the information, though nowadays you could tell PM. Jacinda Adern, since she is also Minister for the Arts.

The School moved to new premises in Cable St., the entrance to which sat between adjacent doorways—one to Cash Convertors, the other to Abundant Life Spiritual Centre, daily reminders of the spectrum of possibilities in life as well as art. We tried to ignore the nine months of deafening pile-driving as Te Papa construction across the road got under way, and just got on with our work.

Patricia Rianne, one of New Zealand’s most celebrated expatriate dancers, had returned home and become Head of Classical Studies at the School, a most valued teacher and mentor to the students. Her Summer’s Day, to music by Jenny McLeod, and Bliss, inspired by Katherine Mansfield’s story, were staged by RNZB and the graduates dancing there found joy in performing them.

George Dorris and Jack Anderson, leading New York dance writers, walked in the door one day as I was teaching Baroque dance. I squealed in delight to recognise them, introduced them to Anne, we both scolded them for not warning us they were coming, so they returned a year later and gave a wonderful seminar which we also opened to the public. We surveyed the many titles of the fabled Dance Perspectives, a series of periodicals edited by our mutual colleague, Selma Jeanne Cohen. No other dance journal can hold a candle to this series so I was emboldened to beg our National Library to lend us their complete run from the Stacks. No-one had ever borrowed them because no-one knew they were there. They do now. What a weekend we were treated to. I can’t remember if we thanked Anne, but she will have known that the real rewards survive in the minds and memories of those who attended. The threads that weave, and the ties that bind.

Ann Hutchinson, leading authority in dance notation, visited and gave a workshop in which she mounted from her score Nijinsky’s l’Apres Midi d’un Faune, to music by Debussy. Nijinsky was the true pioneer of modern choreography, as well as a legendary dancer. Sad that he is remembered more for his schizophrenia than his art, but such is the ephemeral nature of dance. The cast of Faune calls for seven dancers, one male and six females. As luck would have it, just 14 students turned up, two males and 12 females, so Ann set about teaching the work to two casts and the whole piece was completed by the end of the afternoon, which you would have to rate a small miracle. The mercurial Warren Douglas was there that day and danced the Faune, as well as many roles at RNZB in following years. Years later but still young, he died tragically, of complications from Aids. It was so sad and so wrong to have to write his obituary. We must never forget the dancers whose lives that cursed illness snatched away. Warren might well have become a brilliant director of RNZB, and would have changed the world.

The most treasured heritage for me throughout my 20 years teaching at the School was undoubtedly the repertoire of choreographies by Doris Humphrey and José Limon, pioneers of the best of American modern dance, taught and staged by Louis Solino who had been a member of their company in New York for years. It was another of Anne’s courageous moves to appoint Louis to the staff, since there might have been resistance to the distinctive technique and repertoire, but he was an unusual and quiet genius and in fact over the years turned up gold in a repertoire we’d have been lucky to catch in any world capital … Air for the G String, Day on Earth, The Shakers, Two Ecstatic Themes, There is a Time, La Malinche, The Unsung, Dances for Isadora, Choreographic Offering, The Moor’s Pavane in seminar. Later the mighty Bach Chaconne was performed by Louis’ partner, the multi-talented Paul Jenden. Paul has since died and a broken-hearted Louis returned to the States, but make no mistake, anyone who ever danced in, or saw rehearsals and performances of those Limon and Humphrey masterworks will never have forgotten them. Next month’s story might tell the detail of how that came about.

Everyone present at Christine’s celebration will have had memories like these, all the same, all different. The following weekend, large numbers of us gathered at parties in Paekakariki to help Sir Jon Trimmer celebrate his 80^th birthday, and his 60 years of performing with RNZB. Jon’s sister, Coral, came from Melbourne with her harmonica in her pocket and played jazz numbers from the 1920s like a shimmering hummingbird, cavorting and gliding about, giving total lie to her 89 years. We knew this was her instrument but hadn’t heard her play. Now we have. That will have to be the next next month’s story.

Between those two gatherings, our daughter gave birth to her firstborn, a baby girl. I’ll let her grow a while and then maybe I’ll make for next next next month, a story about the dance-like movements of a wee, serious, busy, tiny one as she explores the world around her, learning to latch on and to change sides, to yawn and to hiccup, to sneeze and to gurgle, to make frog’s leg kicks that Jeremy Fisher might envy, and, when her arms are unswaddled, to conduct and wave at symphony orchestras. The baby as dancer—I’m up to review that.

It was Eugene O’Neill who said, ‘‘There is no present or future—only the past, happening over and over again—now.’ I like that, so think I will help myself to his words.

Jennifer Shennan, 30 September 2019

Featured image: Christine Gunn cutting her anniversary cake. New Zealand School of Dance

Sir Jon Trimmer in open conversation with Garry Trinder

by Jennifer Shennan
9 July 2019. New Zealand School of Dance

An armchair conversation with Sir Jon Trimmer was the brainchild of Garry Trinder, Director of New Zealand School of Dance. It was held in the theatre at Te Whaea, mid-week of the school’s winter intensive national seminar, so that many young students, parents and teachers could attend. It was also open to the public and a large contingent of Friends and friends, colleagues, admirers, teachers and audience-goers took the chance to express publicly their appreciation of, and thanks for, this dancer’s phenomenal career. It was twilight hour, so a poignant echo that, on innumerable performance nights across the past six decades, warm-up, make-up, dress-up, curtain-up would have been taking place at around the same time. In reviving the memories and pleasures of those performances, the conversation summoned many ghosts, all of them good. No bad ghosts arrived. Love was in the air.

The names of the main players in his early story include: Jonty’s parents and siblings who danced and sang their way around the family home; Pamela Lowe, his older sister whose dance school in Petone he attended; Poul Gnatt who arrived in 1953 like a lightning bolt from afar and established a ballet company on zero resources yet with the highest of aspirations; Russell Kerr, a quiet genius of ballet, music and theatre arts who succeeded him as Artistic Director of the company in 1962, contributing to its growing international recognition; Alexander Grant, our legendary character dancer expatriate; Peggy van Praagh who offered support during the early years of her directorate of The Australian Ballet—including an enterprising initiative whereby several dancers had three-month exchange residencies between the two companies. Jacqui and Jon Trimmer were later invited to dance with The Australian Ballet on an international tour with guest artists Margot Fonteyn and Rudolf Nureyev, and entertaining tales were told of those times.

Harry Haythorne, a subsequent director of New Zealand Ballet, was another Australasian success story. He and Jonty were obviously great mates (‘We both knew all the hit songs and numbers from vaudeville and music-hall era—had a ball outdoing each other’). There’s no better illustration of that rapport than their twin roles in A Servant of Two Masters, Gray Veredon’s classic commission with inspired design by Kristian Fredrikson. The Film Archive’s copy of that commedia dell’ arte ballet is still worth viewing for the dazzling line-up of its stellar cast—Trimmer and Haythorne, Kerry-Anne Gilberd, Cathy Goss, Karin Wakefield, Lee Patrice, Eric Languet, Warren Douglas, Kilian O’Callaghan. The earlier romp, The Ragtime Dance Company to Scott Joplin, was another of Veredon’s and Fredrikson’s hits. Bernard Hourseau’s Carmina Burana and Ashley Killar’s choreographies No Exit and Dark Waves also gave Jon some of his strongest roles. Many of the heritage works of the Company’s repertoire exist only in memory, but are no less real for that, and a number of them could do with re-visiting.

Jon Trimmer as the wealthy Pantalone and Harry Haythorne as Dr Lombardi in 'A Servant of Two Masters' — Sir Jon Trimmer (left) as Pantalone and Harry Haythorne as Dr Lombardi in Gray Veredon’s *A Servant of Two Masters*. Royal New Zealand Ballet, 1989. Photographer not known

Christopher Hampson’s Romeo & Juliet, and Cinderella, Stanton Welch’s Madame Butterfly, Liam Scarlett’s Midsummer Night’s Dream are further impeccable works that secured RNZB’s reputation for full-length choreographies, combining all the power that dancing, music and design can offer. If asked to name one indelible image of Jon Trimmer on stage, I’d probably first lodge a conscientious objection—What, only one?’ but then describe his power as the Duke of Verona in R&J. He strode in, on a high, elevated back platform, glared down first at the Montagues, then at the Capulets—at everyone stunned by the horror of what had played out, then again at both houses —turned and strode off. His demand that warring end and a truce be declared, delivered in so few gestures, carried all the power of Shakespeare’s tragedy. The timing and the minimalism of those few moments on stage, said it all.

We should tell our grandchildren what we saw. Find the music, tell them the story, show them photos, keep the dress-ups box at hand, take them to a matinee, suggest they draw and write afterwards what they saw, maybe send a postcard to their favourite dancer. Who knows where it might lead, but it can only be a good place.

The clearly important international parts of Jon’s career, with Sadler’s Wells Ballet, and Royal Danish Ballet, were referenced, (‘It certainly helped in Denmark to have Poul Gnatt’s mantle on my shoulders. He was still vividly remembered by everyone there—and clearly had been one of their top dancers’) but it is overwhelmingly apparent that the Trimmers’ commitment and loyalty to the Royal New Zealand Ballet has shaped their lives, and that of so many younger dancers and colleagues here whose artistry they have helped to develop. For that we say Thank You.

Garry asked: ‘When did it first occur to you that the recreation and pleasure you took in dancing as a boy could become your life work, your career?’ Jon replied: ‘Well, you know I’m not sure I can say. I just kept on doing what I loved.’

Garry Trinder (right) asks a question of Sir Jon Trimmer. New Zealand School of Dance, Wellington, 2019.

‘What he loved’ included Poul’s pedigree productions of Bournonville ballets—La Sylphide and Napoli; the talisman Prismatic Variations, Russell’s Prince Igor, Petrouchka, Swan Lake, Giselle, Coppélia, Christmas Carol, Peter Pan; interesting new work with Russell Kerr in an interlude at Auckland Dance Centre; plus 100 more… Servant, Ragtime Dance Company, La Fille mal Gardée, Cinderella, Romeo & Juliet … who’s counting and where do we stop? Clearly this is significant repertoire that earned the Company an international recognition and reputation, as well as its royal charter.

The sagas of company politics, funding and management highs and lows over the years were referred to in the briefest of terms, as also the devastating challenge of the fire that destroyed almost all the company’s resources in 1967. The abiding impression one gains is of the resilience and determination to somehow hold on to the reins—with Poul Gnatt, Beatrice Ashton, Richard Campion, Russell Kerr and the Trimmers as the heroes in those early battles.

Young dancers listening will have taken on board Jon’s words about the importance of breathing while moving—to shape and sustain an arabesque, to support a jump, to control a pirouette … ‘oh and the music of course, that helps enormously.’

Another tip, this one he had from Russell Kerr—’Go and sit outside a café, watch people as they walk by. Study their gait, their timing, how they hold their body. That will tell you much about their character which you can then put into your performance, make it lifelike.’

Jon: ‘I stopped dancing princes at a certain age but went on to old men, old women and witches. Look, it’s been just wonderful to work with all those talented people.’ Jon, one could guess it’s been just as wonderful for them, as it has been for us too.

A friend in the audience commented later—’One thing that struck me was his presence when speaking. When Trinder was talking Jonty seemed like just a genial old man, but as soon as he started to speak you couldn’t take your eyes, or attention, away from him.’ That magnetic presence and practice of paying attention has also worked in the opposite direction and been a way of life for Jon for years. He has watched countless RNZB rehearsals and performances with the most attentive eye, and always found a way of gently encouraging younger dancers, suggesting a tip to a colleague as to how the smallest shift in physics of limbs or expression of eyes or face might enhance their performance. Such generosity in the competitive world of ballet arts is rare, but makes the man worth his weight in gold.

There are more stories to be found in Jon’s recently published memoir, Why Dance?and details of the Company productions are listed in the three published histories of the RNZBallet—at 25, 50 and at 60 years.

Jon has also explored pottery and painting as further means of expression. He is a legendary gardener —and, one senses, a deeply happy man Of course he’s not stupid and wants a much better world for dancers, but the knowledge that he has used his own given talents to the maximum has allowed him to remain positive throughout a career that has seen some tortured ups and downs of politics and make-overs during the decades (every ballet company knows them). His humour is quick but never biting, always gentle with wry amusement, a rich sense of irony, patience in waiting for time to resolve troubles of the political variety, and truckloads of performance memories.

Also apparent is a deep and genuine love of his country—’Oh it was wonderful to travel through the whole countryside as we toured everywhere in the early days—we saw so much, and made so many wonderful friends as billets. We’re still friends.’

Bill Sheat, a pillar in many areas of the arts community in New Zealand, says: ‘During my long term as Chairman of the Board of RNZB I was lucky enough to see Jon T. perform countless times. Whenever he made his first appearance there would be a wave of whispered delight as the audience recognised him. It was a mixture of love, ownership and appreciation.’

Tuesday evening was a sweetheart affair—no notes, no microphones, no bullshit, no self-aggrandisement, no lecturing, no breathless promotions, no shouting and whistling, just an ocean of smiling faces and sustained, warm applause that is echoing yet, and holding history. There is no future without the past.

So what did Jonty do? He joined in the applause of course.

Jennifer Shennan, 12 July 2019

Featured image: Sir Jon Trimmer (left) makes a point during his conversation with Garry Trinder. New Zealand School of Dance, Wellington, 2019

Please consider supporting the Australian Cultural Fund project to raise money to have hi-res images made for a book on the career of designer Kristian Fredrikson, which is heading towards publication. See the project, which closes on 30 July 2019, at this link. [Update 1 August 2019: Project closed]

Jaidyn Cumming and Bo Hao ZHan in 'La Sylphide'. New Zealand School of Dance Graduation, 2018. Photo: Stephen A'Court

New Zealand School of Dance Graduation Season, 2018 (1)

Tradition—classical program

21 November 2018. Te Whaea, Wellington
by Jennifer Shennan

New Zealand School of Dance is one school with two discrete streams, Classical Ballet and Contemporary Dance. Their Graduation season is always an uplifting affair as the fledgling dancers leave the nest where they have spent the past three years in intensive training. We can guess they’ll each be wishing for just one thing—life as a dancer. I can see no reason why they shouldn’t all get what they wish for, though over time that will, for some of them at least, stretch to include ‘teacher’ and ‘choreographer’ as well.

There are students from New Zealand, including Maori and Pasifika, and several countries beyond, Australia and Asia. The seeds of teacher training included in the curriculum here would help them find work for life back home if not here. We won’t be done with our life on Earth until everyone, in every country, has had a chance to dance, if only as a way to enhance recognition of choreographic masterpieces when they see them. There was such a masterpiece on each of the two programs and I’m shivering to tell you about them, as well as share a few thoughts about possible future directions.

The Ballet program, Tradition, opened with an excerpt of La Sylphide, from Bournonville heritage. Nadine Tyson (alumna of the School and a long-term dancer with RNZB), staged the work which was danced with care and love. The fact that Henning Albrechtsen, the world’s finest free-lance Bournonville teacher, had a residency at the School just last year, will have paid off in the students’ understanding of this demanding and darling style, renowned for its contained vigour and life-affirming ebullient spirit within ballet heritage. (A pity no program note could remind us that Poul Gnatt was for years the most renowned interpreter in the world of the leading role of James. His oral history includes a fabulous story about that, and relates to New Zealand).

Bo Hao Zhan in August Bournonville's 'La Sylphide'. New Zealand School of Dance Graduation, 2018. Photo: ©Stephen A'Court — Bo Hao Zhan in August Bournonville’s *La Sylphide*. New Zealand School of Dance Graduation, 2018. Photo: © Stephen A’Court

It was Gnatt who first raised the voice to form a School to serve the needs of the Company he had already established in 1953. It would be 1967 before the National School of Ballet opened its doors. A paragraph to that effect could be included within the printed program, with further reference to its 50 year history recently written by Turid Revfeim (alumna of the School and long-term dancer with RNZB). History will not go away just by our staying quiet, and a background program essay is needed to pick up and weave back together the threads between School and Company that have recently, by neglect, been torn asunder.

It is deeply satisfying to sight a young dancer in the back row of the corps of La Sylphide who, as have others, used her time at the School to develop the technique and to hone the style that she simply did not have three years ago, but that she will now carry back to her Asian homeland and thus spread good in the world. She may not know that this sentence is about her, but I do. Well done all.

The following Tarantella, by Balanchine, 1964, a romp to Gottschalk music, gave a superb chance to a pair of young students to strut some marvellous stuff. There’s also a link across to Bournonville via the tambourine, but these days dancers with tambourines are so polite. If you’re going to dance with one, don’t you need to thrash hell out of it and rattle the discs to let everyone know that dancing with one is different from dancing without one?

Brittany Jayde Duwner and Rench Soriano in George Balanchine's 'Tarantella'. New Zealand School of Dance Graduation, 2018. Photo: Stephen A'Court — Brittany Jayde Duwner and Rench Soriano in George Balanchine’s *Tarantella*. New Zealand School of Dance Graduation, 2018. Photo: © Stephen A’Court

Sfumato by Betsy Erikson (we need program notes to identify the choreographers) was an extended work, from 1986, to Boccherini, but that does not carry the vitality of the Baroque repertoire that preceded his era. The work is staged by Christine Gunn, long-term teacher at the School, and by Nadine Tyson. The dancers all do well, but the challenges of choreographic structure on this music remain. In past years there has been one work on the program done to live piano accompaniment (after all, the two best ballet pianists in town—Phillip O’Malley and Craig Newsome—are on the staff here) but this line-up did not offer that opportunity.

Then followed After the Rain, a pas de deux by Christopher Wheeldon, and the theatre fell silent. A man and a woman, dancing to Arvo Pärt’s music, Spiegel im Spiegel, for piano and violin (offering resonance back some years to alumna Raewyn Hill’s memorable choreography, Angels with Dirty Feet, to the same music). Every moment, every gesture, every position held and line followed, every lifting, sliding and lowering, shows choreographic mastery. They are not having sex, they are making love, in any generous understanding of those words you care to bring to reading them. It’s a triumph for a School anywhere to include Wheeldon’s work in its Graduation program. It was rehearsed by Qi Huan, premier dancer for years at RNZB, and the calibre of his work shines through the students’ performance.

(left) Sook Meng Lim and Isaak McLean in Christopher Hampson’s Saltarello; (right) Sook-Meng Lim and Isaak McLean in Christopher Wheeldon’s *After the Rain*. New Zealand School of Dance Graduation, 2018. Photos: © Stephen A’Court

Emerge, a solo for a male, by Australian choreographer Louise Deleur, was a world premiere. Also rehearsed by Qi Huan, it received a focused performance.

Christopher Hampson’s Saltarello, choreographed for RNZB in 2001, is a smart and sultry number and a fitting finale to this satisfyingly varied program. Here staged by Turid Revfeim, again a School alumna as well as long-term Company stalwart dancer, teacher, choreographer and administrator there, and now teacher at the School, it gives scope to a large cast who find the style and pizzaz to mix humour into its moves.

2018 marks 20 years since Garry Trinder became Director of the School and there can be no doubting his commitment to the wellbeing and developing careers of the students. Chair of the Board, Russell Bollard, spoke in tribute. The small print in the program reminds us that dancer and staff reps are included on the Board. Any decent workplace these days knows to represent the spectrum of its people among its governance. It’s a mark of confidence, high morale, respect, common sense and fair play. Top marks to this institution for that

Jennifer Shennan, 23 November 2018

Featured image: Jaidyn Cumming and Bo Hao Zhan in August Bournonville’s La Sylphide. New Zealand School of Dance Graduation, 2018. Photo: © Stephen A’Court